UC-NRLF 


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THE 

PHOTO -PL AY 


You  are  never  a  failure  until 
You  admit  it  Yourself" 


THE  PHOTO- PLAY 

A  Book  of 

Valuable  Information 

/or Those  Who  Would  Enter 

A  Field  o/Unlimited 

Endeavor 


By 

RALPH    P.    STODDARD 


Copyright,  1911  by  MALANEY  &  STODDARD. 


INTRODUCTION 

There  is  a  big  demand  for  Scenarios,  or  stor- 
ies for  the  motion  pictures. 

Several  manufacturers  are  advertising  for 
Scenarios,  and  pay  good  prices  for  suitable  man- 
uscript. 

While  the  requirements  are  such  that  any 
person  of  ordinary  literary  ability  may  write  a 
Scenario  only  a  few  succeed  owing  to  the_lack^of 
of  knowledge  of  the  formula  and  technique  of 
Scenario  writing. 

A  Chicago  film  manufacturer  reports  that 
out  of  five  thousand  received  as  a  result  of  an 
expensive  advertising  campaign,  only  fifty  Scen- 
arios were  accepted.  This  one  per  cent,  is  prob- 
ably a  fair  average  of  copy  accepted  and  paid  for 
by  all  of  the  manufacturers.  Of  the  ninety-nine 
per  cent,  of  Scenarios  rejected  a  large  majority 
contain  ideas  that  could  be  made  into  a  good 
Photo-Play.  The  task  of  extracting  the  grain 
from  the  chaff  is  too  great  for  the  busy  film- 
maker. Yet  he  must  have  Scenarios  for  hun- 
dreds of  picture  plays  are  produced  every  week. 


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v,$! 

The  amateur  and  novice  are  being  weeded 
out,  while  those  who  take  the  pains  to  study  this 
art  and  prepare  themselves  for  the  work,  are 
meeting  with  excellent  success. 


To  receive  the  attention  of  the  producer  and 
have  a  chance  for  sale,  a  Scenario  must  conform 
to  certain  established  rules  and  be  presented  in 
proper  form.  Many  who  now  submit  these  plays, 
only  to  have  them  returned  by  the  manufactur- 
er, may  make  their  writing  profitable,  if  they 
will  instruct  themselves  in  the  art  and  technique 
of  the  work. 


'I'-Y 

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•; 


A  Simple  Story 


Generally  a  Photo-Play  should  be  a  singlo 
theme  or  plot,  not  a  complication  of  plots  as  are 
our  stage  plays  and  novels.  Many  Scenarios  sub- 
mitted and  rejected,  contain  sufficient  ideas  for 
two  or  three  Photo-Plays,  had  they  been  worked 
out  separately. 

The  story  must  be  told  by  a  series  of  hap- 
penings. While  titles  and  sub-titles  are  used, 
and  often  strengthen  the  interest  in  the  story, 
nd  manufacturer  \vould  buy  a  Scenario  which 
would  not  stand  alone  or  carry  its  story  to  the 
audience  by  the  pictures,  regardless  of  the  title. 
Few  sub-titles,  letters,  telegrams,  or  printed 
messages  should  appear  in  the  play.  The  letter 
or  telegram  is  often  necessary  and  is  permiss- 
able  when  consistent  with  the  story,  but  these 
mediums  should  not  be  overworked. 

Probably  ninety  out  of  every  one  hundred 
Photo-Plays  have  a  plot,  yet  some  of  the  most 
successful  are  a  series  of  pictures  to  illustrate 
a  theme  without  a  thread  of  story.  An  example 
of  this  is  a  Lubin  production  entitled:  "Will  It 
Ever  Come  To  This?"  In  this  comedy  is  shown 


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suggestions  of  the  "new  woman"  idea  carried  to 
the  extreme  and  while  entirely  without  a  plot 
is  one  of  the  best  pictures  ever  made  by  this 
manufacturer. 

The  raw  material  of  the  Photo-Play  Scen- 
ario, then,  is  simply  an  idea.  It  may  be  a  story 
with  a  plot  or  a  series  of  incidents  pointing  some 
theme. 


The  Big  Idea 


Have  you  an  idea  for  a  picture  play? 
Is  it  one  of  action  rather  than  of  words? 

Can  you  suggest,  say  fifteen  to  twenty-five 
scenes,  each  one  relating  to  the  other,  and  each 
succeeding  one  a  forward  step  in  the  story,  cul- 
minating in  a  single  scene  which  will  bring  out 
your  climax? 

Are  all  your  scenes  photographically  pos- 
sible, and  are  the  settings,  costumes  and  "  prop- 
erties7' within  the  reach  of  the  average  film- 
maker? 

If  you  can  answer  these  questions  in  the  af- 
firmative, then  you  are  able  to  write  and  sell  a 
Scenario  and  have  the  satisfaction  of  witnessing 
it  on  the  screen. 

There  can  be  no  loose  ends  nor  going  back 
in  building  your  Photo-Play.  The  incidents  of 
your  story  must  follow  in  succession  all  leading 
to  the  final  incident  which  discloses  the  interest- 
ing feature  of  your  plot. 

If  these  rules  are  observed  and  your  char- 
acters are  taken  from  every  day  life  of  the  pres- 


ent  and  your  story  is  familiar  to  the  great  major- 
ity of  Americans,  your  success  is  almost  certain.  / 

It  is  not  necessary  that  you  have  an  entirely 
original  theme.  Some  writers  say  there  is  no 
such  thing.  The  old  themes  are  worked  over  and 
over  and  put  in  different  forms  and  applied  to 
different  characters  and  always  are  acceptable 
and  interesting  . 

You  cannot  use  more  than  three  to  six  prin- 
cipal characters  in  a  play  and  each  one  must  be 
a  distinct  type  if  the  audience  carries  them 
through  the  picture  without  confusion. 

Your  first  scene  should  be  strong.  In  it  plan 
to  fasten  the  attention  of  your  audience.  Let 
them  deep  enough  into  the  story  to  be  thor- 
oughly interested,  but  not  deep  enough  to  have 
any  impression  of  what  the  climax  is  to  be. 

You  must  introduce  your  characters  to  your 
audience,  not  let  them  come  on  the  screen  un- 
acquainted. If  it  is  a  part  of  your  idea  that  a 
certain  character  is  an  optimist  he  should  do 
something  optimistic  at  his  first  appearance.  If 
another  character  is  a  grouch,  to  make  your 
story  consistent,  he  should  show  an  example  of 
his  grouchiness  as  soon  as  he  conies  on  the 


screen.  If  it  is  important  to  the  audience  that 
one  of  your  characters  is  a  doctor,  or  lawyer,  or 
college  student,  or  whatever  else,  you  must  eith- 
er place  him  in  surroundings  which  show  his  vo- 
cation or  in  some  way  clearly  introduce  him. 


Shun  Crime  Scenes 


The  ban  has  been  placed  upon  pictures 
showing  violent  crime  of  any  nature  or  contain- 
ing scenes  in  the  least  immoral  or  suggestive. 
There  is  little  hope  of  sale  of  a  Scenario  with  a 
murder  or  a  theft  in  it.  Your  story  might  have 
to  do  with  a  murderer  or  a  thief  and  be  interest- 
ing and  carry  a  moral  lesson  without  picturing 
the  actual  crime.  There  are  some  exceptions  to 
this  rule.  The  censors  pass  upon  the  pictures  of 
historical  foundation  containing  crime  scenes 
and  occasionally  in  the  stories  if  it  is  used  more 
forcibly  to  drive  home  a  moral  lesson. 

What  the  film-makers  want  most  are  clean- 
cut,  domestic  stories  with  everyday  situations 
and  characters.  Comedies  are  in  demand  by  all 
makers,  while  several  advertise  especially  for 
Western  and  Indian  stories. 

Don't  go  away  from  the  plain  stories  to  find 
something  strange  and  startling  for  your  Scen- 
ario. It  is  like  stepping  over  a  dime  to  chase  a 
rolling  dollar  which  you  never  may  catch. 

Almost  every  issue  of  a  big  city  newspaper 
contains,  in  its  news  stories,  ideas  for  good  pic- 
ture plays,  if  skill  is  applied  in  arranging  the 
Scenario.  Those  who  have  a  taste  for  Scenario- 
writing  will  do  well  to  read  the  newspapers. 


An   Example 


Not  long  ago  the  newspapers  of  the  country 
carried  a  story  of  domestic  trouble  in  the  family 
of  a  noted  artist.  A  divorce  suit  and  reports  of 
reconciliation  between  the  artist  and  his  wife 
were  features  of  the  daily  head  lines.  Finally 
they  were  brought  together  through  their  mu- 
tual love  for  their  little  girl.  This  idea  has  been 
used  in  no  less  than  four  recent  pictures. 

The  Scenario  writer  must  always  consider 
photographic  limitations.  Don't  put  "dark  and 
stormy  nights"  in  your  plays.  Many  an  attempt 
at  Scenario  writing  has  been  banished  to  the 
waste  basket  for  that  mistake. 

While  the  film-maker  can  apply  tricks  of  the 
films  and  produce  almost  any  illusion,  from  the 
appearance  of  ghosts  to  having  stones  roll  them- 
selves up  a  steep  hill,  it  must  be  a  subject  of  ex- 
ceptional interest  to  warrant  their  attempting 
unusual  effects.  It  is  better  to  avoid  everything 
of  that  kind  and  leave  such  subjects  for  the  pro- 
ducers' own  creation. 

If  your  story  can  be  enacted  in  ordinary  sur- 
roundings to  be  found  almost  anywhere,  such  as 


open  air  scenes  or  interiors  of  residences  or  of- 
fices, so  much  the  better  is  your  chance  of  having 
your  story  reach  the  picture  screens.  Keep  your 
characters  out  of  scenes  requiring  special  or  ex- 
pensive scenic  construction  by  the  manufac- 
turer. 

The  moving  picture's  greatest  fort  is  its 
ability  to  take  its  characters  to  as  many  different 

locations  as  is  necessary,  and  actually  show  them 
i 

going  from  one  place  to  another.    This  the  stage 

play  cannot  do.  A  drama  running  two  and  one- 
half  hours  must  be  confined  to  a  few  scenes,  and 
the  characters  brought  together  there,  while  the 
moving  picture  play  may  show  characters  long 
distances  apart,  in  entirely  different  surround- 
ings with  only  a  fraction  of  a  second  between 
scenes.  For  instance :  We  may  see  a  young  man 
fighting  in  the  trenches  in  Mexico,  and  the  next 
instant  see  his  anxious  father  and  mother  in  a 
quaint  home  in  the  Vermont  hills. 

This  great  advantage  of  the  moving  picture 
should  be  taken  advantage  of  by  the  Scenario 
Writer.  The  open  air  is  the  natural  element  of 
tihe  moving  picture  play.  Don't  spoil  your  at- 
tempt at  writing  by  trying  to  take  it  elsewhere. 


Preparing  Copy 


With  your  idea  worked  out,  the  next  im- 
portant matter  is  the  preparation  of  copy.  Thous- 
ands of  attempts  have  failed  and  plays  been  re- 
jected unread,  because  the  proper  formula  was 
not  followed. 

As  an  average,  a  reel  of  moving  pictures 
which  contains  1,000  feet  of  film,  requires  fifteen 
minutes  for  projection  on  the  screen.  Approxi- 
mately the  same  length  of  time  is  required  to 
enact  the  play  before  the  camera.  Your  whole 
story  then,  must  be  shown  in  fifteen  minutes  of 
action. 

There  may  be  but  four  or  five  different  set- 
tings, some  of  them  used  many  times  in  the 
course  of  the  play,  but  each  change  counts  as  a 
scene.  An  ordinary  story,  should  be  told  in  fif- 
teen to  twenty  scenes,  with  four  or  five  sub- 
titles. 

Typewrite  your  copy  on  one  side  of  sheet 
only,  leaving  a  wide  margin  at  the  left  side  of 
every  sheet.  Triple  spacing  is  preferable,  and 
you  never  should  write  closer  than  double  space 
lines.  Put  your  title  at  the  top  of  the  first  sheet, 


with  your  name  and  address  in  the  right  hand 
corner. 

Give  names  and  brief  description  of  your 
characters. 

Next,  give  a  synopsis  of  the  play  telling 
the  whole  story  as  briefly  as  possible.  Follow 
with  the  Scenario  by  scenes,  numbering  them, 
and  with  wide  spacing  between  the  scenes.  In 
each  scene  you  should  tell  exactly  what  you  want 
to  appear  on  the  screen,  giving  detail  of  setting 
and  " properties"  and  the  movement  of  your 
characters. 


Official  Instructions 


The  following  are  extracts  from  official  in- 
structions from  the  Scenario  Editor  of  a  New 
York  film  house : 

A  Scenario  should  under  no  circumstances 
be  offered  to  two  manufacturers  at  the  same 
time.  You  can  neither  legally  nor  honorably  sell 
the  same  idea  more  than  once.  Do  not  offer  a 
Scenario  to  a  second  firm  until  you  have  had  a 
definite  refusal  from  the  first. 

Stories  may  be  comic,  pathetic,  romantic, 
melodramatic,  tragic  or  what  you  will.  Arrange- 
ments of  well-known  plays,  novels,  or  historical 
events  are  not  usually  desired.  The  companies 
make  their  own  arrangements  of  such  material 
and  do  not  buy  manuscripts  of  this  nature  unless 
they  are  of  uncommon  excellence. 

Care  should  be  taken  that  the  plot  of  a  mo- 
tion picture  story  does  not  substantially  dupli- 
cate some  motion  picture  already  produced. 
Many  manuscripts  are  rejected  on  this  account. 

While  motion  pictures  are  not  intended  for 
phonographic  or  other  spoken  accompaniment, 
the  characters  are  frequently  seen  to  be  talking 
and  their  gestures  and  attitudes  indicate  to  the 


audience  what  they  are  saying.  At  such  times 
the  Scenario  may  give  a  line  or  two  of  dialogue 
as  a  cue  to  the  gesture  instead  of  describing  the 
gesture  at  length.  The  gesture  alone,  however, 
must  be  capable  of  conveying  the  idea  to  the 
audience. 

A  short  general  description  or  indication  of 
the  requirements  of  each  scene  (each  "set"  or 
"locality")  should  precede  the  description  of 
the  action  that  is  to  take  place  within  that  scene. 

The  Scenario  should  indicate  what  sub-titles 
are  to  be  used,  and  these  should  be  few. 

A  scene  in  which  the  characters  still  remain 
on  the  stage  at  its  termination  should  not  be  fol- 
lowed by  one  in  which  the  same  characters  are 
"discovered,"  unless  it  is  intended  for  some  rea- 
sonable purpose  to  use  a  sub-title  to  indicate  a 
lapse  of  time  between  the  two  scenes.  Where 
successive  scenes  involve  the  same  characters 
and  the  plot  does  not  require  the  lapse  of  time 
between  those  scenes,  the  characters  should 
walk  out  of  the  previous  and  into  the  following 
scene. 


Form  of  Manuscript 


Use  typewriter  paper,  white,  11x8}^  inches. 
Number  all  pages  and  pin  them  together. 

Every  Scenario  must  be  endorsed  with  the 
name  and  permanent  address  of  the  owner.  Do 
not  use  an  assumed  name  unless  you  expect  to 
carry  on  all  correspondence  and  have  checks 
made  payable  under  that  name. 

Postage  and  self-addressed  envelope 
should  be  enclosed  to  insure  return  of  rejected 
manuscripts.  Never  roll  manuscripts. 

The  film  companies  will  fix  a  value  of  from 
ten  to  one  hundred  dollars  upon  acceptable  man- 
uscripts, according  to  quality  and  amount  of 
work  required  to  perfect  the  same.  If  a  state- 
ment that  the  company's  rate  is  acceptable  is 
endorsed  upon  the  manuscript,  check  will  be  for- 
warded on  acceptance.  If  such  statement  does 
not  accompany  manuscript  an  offer  of  a  definite 
amount  will  be  mailed  to  the  owner,  who  may 
accept  or  reject. 

Great  numbers  of  motion  picture  manu- 
scripts are  received  and  time  is  required  to  pass 
on  them.  Only  those  obviously  not  available  are 
returned  at  once.  The  consideration  of  others 
requires  two  to  three  weeks. 


It  is  very  seldom  that  a  manuscript  properly 
identified  by  the  owner  is  lost.  The  firms,  how- 
ever, will  not  be  responsible  for  lost  manu- 
scripts. 

The  best  manner  in  which  to  write  your  let- 
ter in  submitting  a  Scenario  is  to  do  it  briefly 
and  something  like  this: 

Jan.  1, 1911. 
Scenario  Editor, 

Film  Co., 

New  York: 

Dear  Sir: 

The  accompanying  scenario  is  offered  for 
use  at  your  regular  rates.  Please  return  if  not 
available.  Stamps  enclosed. 

Very  truly  yours, 

A  Film  Writer, 
Chicago,  Illinois. 


Unknowns  Succeed 


An  author's  name  is  of  little  consequence 
when  he  comes  to  writing  picture  plays.  Kip- 
ling, McCutcheon,  Hornung,  Ade,  or  any  other 
literary  light  would  demand  hundreds  of  dollars 
for  a  Scenario.  They  would  get  it.  too,  and  by 
their  reputations  would  have  their  names  em- 
blazoned upon  the  film.  But  the  writer  with  no 
great  literary  reputation  stands  the  better 
chance  if  his  work  merits  it.  The  modest  author 
may  be  in  an  obscure  corner  of  the  earth,  but 
that  matters  little  to  the  Scenario  editor. 

Picture  manufacturers  are  willing  to  pay 
fair  prices  to  those  without  reputations  who  fur- 
nish the  "right  stuff." 

The  writer  ambitious  to  achieve  success 
with  his  Scenario,  must  go  to  the  picture  shows 
often,  study  not  only  the  limitations  placed  on 
the  art  but  also  its  scenic  effect.  He  should  read 
the  trade  journals,  that  is,  papers  devoted  ex- 
clusively to  the  motion  picture  business.  These 
journals  publish  a  synopsis  of  every  picture  play 
presented. 

A  title  for  your  Scenario  is  a  matter  of  con- 
siderable importance.  Attractive,  comprehens- 
ible titles  will  aid  in  selling  your  product.  Keep 


your  titles  in  five  words  and  get  a  " punch"  in 
them,  so  to  speak — something  that  will  instantly 
strike  home  to  the  public. 

Above  all  else  don't  get  discouraged.  Prob- 
ably no  Scenario  writer  in  the  world  had  his  first 
manuscript  accepted.  Every  successful  writer 
knows  what  it  is  to  have  copy  returned.  Profit 
by  the  criticism,  and  study  the  art,  then  you  are 
certain  of  success. 


f 


Facts  About  Producers 


Film  manufacturers  have  their  acting  com- 
panies organized  much  after  the  fashion  of  a  re- 
pertoire company.  A  stage  director,  Scenario 
editor,  leading  man  and  leading  woman  are  the 
principals.  The  companies  number  from  10  to 
25  actively  engaged  actors  and  actresses. 

Every  film  company  has  its  studio — the 
place  where  the  pictures  are  taken.  This  con- 
tains a  stage,  an  abundance  of  set  scenery  and 
properties  and  the  motion-picture  cameras. 
With  this  equipment  an  ordinary  film  may  be 
made  in  a  single  day. 

The  actors  and  actresses  are  rehearsed,  and 
a  certain  day  is  set  for  taking  the  pictures.  Some 
of  the  scenes  in  a  Scenario  are  made  inside  the 
studio  and  others  outside  just  as  called  for  by 
the  manuscript.  In  winter  many  of  the  moving 

« 

picture  acting  companies  go  to  the  south  or 
southwest,  where  the  climate  is  warm  and  there 
is  plenty  of  outside  scenery.  Then  the  western 
pictures  and  those  requiring  much  outdoor  scen- 
ery are  made. 

The  pictures  of  a  moving  picture  play  are 
taken  by  two  or  three  cameras,  working  alter- 
nately. A  negative  is  first  made  and  then  devel- 


oped  in  a  dark  room  and  prepared  for  making 
prints.  The  print  is  on  a  long  strip  of  film  about 
an  inch  wide.  It  is  but  a  series  of  pictures  on 
film,  which  when  run  through  a  moving  picture 
machine  and  projected  on  the  canvas,  passes  be- 
fore the  eye  so  fast  that  the  characters  seem  to 
have  life.  The  method  of  printing  is  similaf-  to 
that  used  by  your  local  photographer.  A  hun- 
dred prints  may  be  made  from  one  negative  just 
the  same  as  a  hundred  pictures  of  yourself  may 
be  made  from  the  negative  picture  of  yourself, 
which  you  pose  for  but  once. 

Some  Scenarios  bought  by  manufacturers 
are  not  produced  for  weeks  and  months  after 
they  are  paid  for  but  they  are  always  sure  to  be 
produced  and  widey  advertised.  The  prints  or 
films,  as  they  are  commonly  called,  are  first  sold 
by  the  manufacturers  to  film  exchanges  and  the 
latter  rent  the  films  to  the  picture  theatres. 
Nearly  every  large  city  has  its  exchange  which 
in  fact,  is  but  a  distributing  agency  for  films. 


Scenario  Purchasers 


Below  is  given  a  list  of  prominent  moving 
picture  manufacturers.  Try  all  of  them  before 
you  give  up.  If  one  refuses  to  buy  your  manu- 
script, send  it  to  another. 

The  Vitagraph  Co.,  116  Nassau  St.,  New 
York. 

The  Biograph  Company,  11  East  14th 
New  York. 

The  Kalem  Company,  235  West  23rd  Street, 
New  York. 

G.  Melies,  204  East  38th  Street,  New  York. 

Pathe  Freres  Company,  Jersey  City 
Heights,  N.  J. 

Lubin  Manufacturing  Company,  Philadel- 
phia, Pa. 

Edison  Manufacturing  Company,  Orange, 
N.  J. 

Essanay  Film  Company,  Chicago,  111. 

Selig  Film  Company,  Chicago,  111. 

Rex  Motion  Picture  Company,  573  Eleventh 
avenue,  New  York. 

Independent  Moving  Pictures  Company 
102  W.  101st  Street,  New  York. 

The  Powers  Company,  241st  Street  and 
Richardson  avenue,  New  York. 

David  Horsley,  (Nestor),  Fourth  Avenue 
and  14th  Street,  New  York. 

The  Tannhauser  Company,  New  Rochelle, 
N.Y. 

American  Film  Company,  Ashland  Block, 
Chicago,  111. 


We  Will  Aid  You 


Beginners,  as  a  rule,  turn  out  crude  work. 
They  may  have  the  right  idea — an  idea  that 
might  be  worth  from  $10  to  $100,  if  submitted  to 
the  film  manufacturer  in  the  proper  form. 

We  do  not  operate  a  correspondence  school, 
but  we  do  wish  to  aid  those  who  are  starting  to 
write  motion  picture  plays.  The  Scenario  must 
be  written  " stage-like"  and  be  free  from  gram- 
matical  errors.  It  must  be  clear  and  concise— 
so  attractive  in  appearance  that  the  busy  Scen- 
ario editor  will  read  it  instead  of  sending  it  back 
to  you  with  only  a  hasty  glance.  We  wrill  show 
you  where  you  make  your  mistakes,  if  any,  and 
give  you  many  valuable  hints  and  suggestions. 
Simply  send  your  manuscript  to  us  with  $1.00; 
when  it  comes  back  to  you  it  will  have  increased 
in  value  100  per  cent,  or  more. 

It  is  especially  important  that  your  manu- 
script be  typewritten  and  our  charge  of  $1.00  in- 
cludes typewriting  as  well  as  editing,  revising 
and  criticising.  If  you  are  at  all  in  doubt  about 
your  Scenario  being  in  good  form  the  small  price 
paid  for  reviewing  and  correcting  will  be  well 
worth  while  and  may  mean  your  ultimate  suc- 
cess as  a  Scenario  writer.  The  charge  barely 
covers  cost  of  typewriting. 

PHOTO  PLAY  SYNDICATE, 

1830  East  19th  Street, 

Cleveland,  Ohio. 


>T?NIA  L 


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